Twisted new entry from Chicago's Svengalisghost. "Hidden Cities" comes off like a tape-hiss Drexciya, also bearing similarities to the recent uncompromising output on Morphine Records (Container, Metasplice). The final track, "Judged By Machine", is the record's highlight, with what are presumably Svengali's vocals creating a kind of claustrophobic post-punk a la Ike Yard or Liasons Dangereuses.

Amped-up debut from Elizabeth Merrick-Jefferson, a new Detroit producer whose only other credited track is "Bubo Blakistoni", used by Alex Israel in his LWE podcast. Fitting then, that Steve Mizek, who helms both Little White Earbuds and Argot is the one to introduce this talented new producer to the world. This is an extremely assured debut, drawing heavily on Detroit's overwhelming legacy, especially Kenny Larkin's propulsive ouput. The nuance applied to these tracks is stunning. "John Krunk" takes a memorable piano-riff that most producers would leave as is and takes in one further, dropping hypnotic, circular synth over the mix.

For Demdike's second entry in the Test Pressing series, the shadowy duo continues to indulge their fascination with jungle/dnb sounds. Their approach to the 'ardcore continuum remains insane. The a-side represents that duo at their most abstract, the simple analog pulse reminiscent of some of Glenn Branca's most powerful work. On the B, the duo cites Photek as an influence, and indeed, the track builds up to a sort of recognizable drop, it's just unlike any that you've ever heard. Demdike applies their own brand of breaks mastery and maintains the creepy atmosphere that's attracted a variety of music fans.

Deep sounds from the collaboration between LA's Urulu and Auckland's Chaos in The CBD. Like their peers Bicep, these producers are reverent to the chord-shifted pads, drum swing and soulful vocal sampling of 90s house, yet strive to push the formula forward with modern production touches. The record's highlight is "Mind the Gap", a Kerri-esque late-night belter.

The most effective Dancemania tribute this side of Gerd's "Bang't". The original mix is all undulating filtered bass line, repetetive vocal sample and 707 creativity, while the "locked groove" remix channels Phuture's dirtier 303 tones. Vakula emerges once again and hits it out of the park - maintaining the feel of the original but adding pretty and addictive organ riffs.

Unexpected and sublime collaboration between the NYC underground legend and 2/3rds of England's most taut ensemble. The A-side is a terrifically spacey bit of synth hypnosis, with Factory Floor's arpeggiation and texture occasionally making room for Gordon's exuberant sax. The end result could land on International Feel and also bears simliarities to Steve Moore even early Excepter/Gang Gang Dance. Good stuff. "C-side" is a more uptempo, afrobeat influenced jam. Issued by Optimo Music,

Cool new discohouse single from Marcus Lambkin, aka Shit Robot. In many ways, this record looks back to the heady early days of DFA, the difference being the elastic live bass and analog/acoustic drum sounds are backed by a singer who's lost his edge in the best way possible. Luke Jenner's (of The Rapture) Gravity Records days are far behind him, and he turns in a soaring, Sylvester-influenced performance. Music For Freaks boss Luke Solomon turns in a remix that is largely faithful to the eight-minute original, but leans harder on the low-end.

New EP from the long-running, though not exactly prolific, UK group. This ep finds them engaging with a more dancefloor ready sound, though not abandoning their trippy balearic signifiers. In this case, the rhythm section is fairly relentless, a heavy kick and bassline joined by slightly delayed hi-hat and snare. Up top, a strange clock/delay controls a group of meandering synthesizers. It all combines into a banging, disorienting epic. B-side "Shorty" maintains the arpeggiation, but the bass line is more of a dubby, Peter Hook-influenced affair. The track unexpectedly channels Moroder and works in a subtle vocal sample midway. Fairplay/Weatherall colleague Scott Fraser takes his remix to a more placid place, sounding like an anglo-version of recent FXHE output. Recommended.

New night moves white-label issued by Chicago Damn himself. The a-side's sample cut is influenced by Ron Hardy's most exuberant and jarring work, while the rest of the ep is for the ride home or what comes after. "Temporary Transgression" works around a beautiful reverbed Rhodes, shuffling beat and subtle sample work. "Pleasurer" maintains the late night feel of the b-side, sampling a slap bass line and adding mercurial moog and a pitched up female vocal, a meditation prior to euphoria.